Marian Cramer

by Daniel Mullen

From 16-05-2020 To 13-06-2020

Founded in 2010, Marian Cramer Projects is focused on showing work by emerging and mid-career, mainly international artists who work across media ranging from painting, photography, sculpture and installation. Located in Amsterdam Oud Zuid, a part of my home has been turned into a gallery space aiming to spur discussion and create a deeper connection to the artwork organizing various events, such as lectures, talks with artists and special master classes bringing like-minded people together.

Always open by appointment!

Cathrin Hoffmann

Arno Beck

Thomas Langley

David Lindberg

Daniel Mullen

Cathrin Hoffmann, There’s a portal on the other side? 2020

Charcoal and Gel Medium on Hahnemühle Paper 29,7 cm x 42 cm 

Arno Beck,

Untitled, 2020 

acrylic ink on canvas 

50 x 60 cm,  unique 

Thomas Langley, Mummy’s Boy (Pink with Yellow Text)  2020

oil bar, acrylic and oil on birch ply 60 x 40 cm

David Lindberg, Decade, 2020

Resin, pigment, multiplex 59 x 75 cm

Daniel Mullen 27-97 (Diptych) 2020

205 x 220 en 205 x 220 cm

 

Daniel Mullen, Days of the week, 2020

ART ROTTERDAM 2020

by Daniel Mullen

From 06-02-2020 To 09-02-2020

ARNO BECK 

CATHRIN HOFFMANN

DANIEL MULLEN 

DANIEL MULLEN 

18-82 (diptych)

205 x 440 cm
Acrylic on linen,  2020

 

CATHRIN HOFFMANN

Pointless Bid Of Control

180 x 140 cm

Oil on canvas, 2020

 

ARNO BECK 

Untitled

45×45 cm

Typewriter drawing on Japanese paper, 2020

 

DANIEL MULLEN

WITH LUCY CORDES ENGELMAN

By applying glazed layers in combination with hard-edge painted lines, Mullen (Glasgow,1985) creates layered images that figuratively communicate abstract concepts creating the impression of reproducibility, which is precisely what he seeks to highlight in an era of mass consumption.

In collaboration with his wife, American artist and filmmaker Lucy Cordes Engelman (Washington 1987) Mullen paints as a conduit for her sensorial experience between color and time assisting him on the definition of chromatic matches in their paintings. The couple’s creative process begins by choosing specific dates. Each date turns into a mathematical fraction which results in specific color in Lucy’s brain. Engelman unveils the codes of time, discovering each number’s colors through her very own eyes.

The precise match between pigmentation and geometry present in the synesthesia’s set creates unusual perspectives, and confuses the viewer optical illusion, in a direct reference to the kinetic movement in the 50s. Canvases gain volume appearing to look like an encrustation of dozens of multicolored glass plates that move toward the observer.

 

CATHRIN HOFFMANN

Cathrin Hoffmann is a German, Hamburg based artist, who grew up in the 90s

Often, at first glance, her paintings seem deterrent. And despite the clear graphic visual language, the figurative shapes do not seem immediately recognizable as beings. Yet, those who connive at the alleged nauseated impulse will moreover find humor and hope in her paintings.

As a visual narrator, Hoffmann looks at our society with the inherent human mortal existence of every individual. IS EVERYTHING A MYTH? That ambivalence generates her artistic tension, which is reflected in the aesthetics of the interplay of certain surfaces and becomes the mirror of our humanity. Smooth and polished with artificial 3D feel, which organically unites into strange bodies. For this she uses those image processing programs, she learned in the course of her education as a graphic designer and misuses those same effects until the pixels evolve into creatures. The artificiality is elevated to the form of life. In keeping with the prevailing cultural zeitgeist, which is characterized by the affinity for a copy, it finally reproduces its digital creation by immortalizing it on canvas in the same way.

While being the human printer, Cathrin competes with the machine and demonstrates on closer scrutiny that she has failed. Those color-saturated digital compositions that glow of illuminated screens, now move to the surfaces of non-sterile canvases where dirt and brush hairs will stick on it. In that fragments of its residual reality, it thrives a maybe even more human and comforting parallel dimension.

 

ARNO BECK

Arno Beck, born 1985 in Bonn. Lives and works in Germany

Arno Beck’s prints and conceptual paintings evolve around digital aesthetics and focus on analog production of digital images. Engaging with the language of digital culture the motifs are based on low resolution computer graphics, games and interfaces. It is an interplay between the contemporary digital screen world and traditional techniques.

Focusing on the analog production of computer generated imagery, he transforms those digital images into the pictorial space, capturing digital aesthetics with painterly means. With his hand he interferes where the machine claims its field of competence – humanizing technology and making it less perfect. Due to the lengthy manufacturing process, the deceleration itself becomes a main aspect in times of constant information overload and hasty screen based interactions. The screen world rejects any kind of physically experienceable surface structure and with increasing digitalization the human desire for haptic grows. Consequently, the transformation of those screen based impressions and the materialization into physical, haptic existence become one of the key aspects in his work.

The series of typewriter drawings is rooted in that search for an analog translation of digital imagery into the pictorial space. As these drawings are achieved by typing line by line on Japanese paper using an old-fashioned manual typewriter, Arno Beck utilizes different letters and symbols, which create a variety of differing brightness values. On closer inspection they could remind the viewer of binary codes, emphasizing the connection between the imagery and the digital world. In that particular series he depicts landscapes on an almost photographic level and includes elements from low resolution computer games. By combining those layers, Arno Beck fuses two completely different display modes into a seamless unity, exploring our relationship with the different perceptual realities surrounding us.

 

 

 

by Daniel Mullen

From 02-10-2019 To 06-10-2019

Art The Hague | 2-6 October 2019 | Booth # 24

Daniel Mullen

Hideki Iinuma

Daniel Lipp

David Lindberg 

Annabel Emson

Daniel Mullen, 76-04, 150x140cm, Acrylic on canvas, 2019

Art The Hague
Fokker Terminal
Binckhorstlaan 249
2516 BB  Den Haag

SHIFTING PERCEPTIONS

by Daniel Mullen

From 18-05-2019 To 15-06-2019

Marian Cramer Projects is pleased to present, Shifting Perceptions, the inaugural Solo exhibition by Amsterdam based abstract architectural painter Daniel Mullen (Glasgow, Scotland, 1985).

By applying glazed layers in combination with hard-edge painted lines, Mullen creates layered images that figuratively communicate abstract concepts. When creating illusionistic forms Mullen can, to some degree, illustrate an abstract idea or phenomenon, turning abstraction on its head. He is driven by a sense that abstract art does not simply reproduce perceived outward reality but can be instead a transference of that which lies beyond our visual comprehension. It’s an artistic form — if one follows Kandinsky’s take — that is the result of “an inner necessity”. Mullen creates a complex affect that manages to suggest the incarnation of something grand and vast yet also perhaps just that; a suggestion and not a reality. An illusion, and not the truth. As a devoted craftsman who meticulously creates all of his work without digital or mechanical aids, he still manages to create the impression of reproducibility, which is precisely what he seeks to highlight in an era of mass consumption.

For the Shifting Perceptions Mullen offers two new bodies of work that are comprised of both his ongoing investigations of synesthesia and his white series.  

The synesthesia works explore the sensorial relationship between color and abstract concepts of time and space. The white series come from an interest in creating a framework for the imagination of the viewer in a reduced form, Mullen uses white paint on dark linen creating a space which is limited in means.

In collaboration with American artist and filmmaker Lucy Cordes Engelman, whom he is married to, Mullen paints as a conduit for her sensorial experience between color and time. Each color they use represents a number, and when these numbers are used to illustrate time the painting appears as a layered image, a representation of time. Mullen’s relationship with this universe began just after he approached Lucy, for whom numbers and letters connect to colors in a different way. She currently collaborates in the production of the aforementioned series, assisting him on the definition of chromatic matches, through brush strokes in the shape of lines in his paintings. The couple’s creative process begins by choosing specific dates. Each date turns into a mathematical fraction which results in specific color in Lucy’s brain. Number two, for instance, is a shade of yellow. “She unveils the codes of time, discovering each number’s colors through her very own eyes. Time and color are the two necessary varying factors she needs to unravel the equation”, explains the artist.

The precise match between pigmentation and geometry present in the synesthesia’s set creates unusual perspectives, and confuses the viewer with all sorts of optical illusion, in a direct reference to the kinetic movement in the 50s. Canvases gain volume throughout the artist’s technique;  it appears to look like an encrustation of dozens of multicolored glass plates that move toward the observer. 

For the synesthesia works in Shifting Perception the numbers chosen to be represented were chosen by the couple because they were interested in individual canvases creating an interaction together. Choosing odd numbers next to each other (five, seven, and nine) gave an opportunity to explore the different colors in a way never before. This creates involuntary relationships between specific colors and numbers.

The new white series is an ongoing body of works. Mullen is interested in bringing together two concepts of emptiness seen from the Eastern and Western conflicting perspectives. Pure white as Western experience of absolute Nothingness and the raw linen as the Eastern universal approach of a holistic positive sense of being in emptiness. By bringing the absoluteness of the whiteness and the raw linen, Daniel Mullen is looking for a way to harmonize these two opposing perspectives on emptiness/nothingness together.

Daniel Mullen graduated in 2011 with a BFA from the Gerrit Rietveld Academy, Amsterdam. Mullen has exhibited internationally; London, Vancouver, New York, Sao Paulo, and recently had his first museum show in Berlin. He will also be participating in two biennial’s this year, Ostrale in Dresden and Bienal de Curitiba, Brazil. His work has also been acquired by notable private and corporate collections. Mullen was shortlisted earlier this year for the Aesthetica Art Prize.

 

Daniel Mullen

In collaboration with American artist and filmmaker Lucy Cordes Engelman, whom he is married to, Mullen paints as a conduit for her sensorial experience between color and time. Each color they use represents a number, and when these numbers are used to illustrate time the painting appears as a layered image, a representation of time. Mullen’s relationship with this universe began just after he approached Lucy, for whom numbers and letters connect to colors in a different way. She currently collaborates in the production of the aforementioned series, assisting him on the definition of chromatic matches, through brush strokes in the shape of lines in his paintings. The couple’s creative process begins by choosing specific dates. Each date turns into a mathematical fraction which results in specific color in Lucy’s brain. Number two, for instance, is a shade of yellow. “She unveils the codes of time, discovering each number’s colors through her very own eyes. Time and color are the two necessary varying factors she needs to unravel the equation”, explains the artist.
The precise match between pigmentation and geometry present in the synesthesia’s set creates unusual perspectives, and confuses the viewer with all sorts of optical illusion, in a direct reference to the kinetic movement in the 50s. Canvases gain volume throughout the artist’s technique; it appears to look like an encrustation of dozens of multicolored glass plates that move toward the observer.
For the synesthesia works in Shifting Perception the numbers chosen to be represented were chosen by the couple because they were interested in individual canvases creating an interaction together. Choosing odd numbers next to each other (five, seven, and nine) gave an opportunity to explore the different colors in a way never before. This creates involuntary relationships between specific colors and numbers.
The new white series is an ongoing body of works. Mullen is interested in bringing together two concepts of emptiness seen from the Eastern and Western conflicting perspectives. Pure white as Western experience of absolute Nothingness and the raw linen as the Eastern universal approach of a holistic positive sense of being in emptiness. By bringing the absoluteness of the whiteness and the raw linen, Daniel Mullen is looking for a way to harmonize these two opposing perspectives on emptiness/nothingness together.
Daniel Mullen graduated in 2011 with a BFA from the Gerrit Rietveld Academy, Amsterdam. Mullen has exhibited internationally; London, Vancouver, New York, Sao Paulo, and recently had his first museum show in Berlin. He will also be participating in two biennial’s this year, Ostrale in Dresden and Bienal de Curitiba, Brazil. His work has also been acquired by notable private and corporate collections. Mullen was shortlisted earlier this year for the Aesthetica Art Prize.